'When the Game Stands Tall': Faith-Based High School Football

It's hard to think of a scene in this movie you haven't seen in another.

When the Game Stands Tall

Director: Thomas Carter
Cast: Jim Caviezel, Laura Dern, Michael Chiklis, Ser'Darius Blain, Alexander Ludwig, Jessie Usher, Matthew Daddario, Ser’Darius Blain, Stephan James
Rated: PG
Studio: Sony Pictures
Year: 2014
UK Release Date: 2014-11-21 (General release)
US Release Date: 2014-08-22 (General release)

"I just want you happy, healthy, and home once in a while." As Bev Ladouceur, Laura Dern couldn't be more earnest. Standing in the kitchen in When the Game Stands Tall, she's a familiar figure, the noble movie coach's wife. Indeed, Bev is among the noblest. She's married to De La Salle High School football coach Bob (Jim Caviezel), noble in his own way and, as the movie begins, overseeing the longest winning streak ever in all sports (151 games). Also as the movie begins, in 2003, their nobility is about to be tested, as that streak is about to end.

Based on a true story, When the Game Stands Tall (and what does it mean exactly, that a game might "stand tall"?) emphasizes Bob's dedication to his team—and Bev's dedication to him, cheering in the stands, team logo on her sweatshirt. He's coached the Spartans for some 25 years, and it appears that Bev's confession in the kitchen (about what she wants) is instigated by her discovery that he's rejecting yet another about what she wants is offer to coach at a bigtime university. Though Bev imagines that college coaching will provide more stability, more time for her husband to focus on "home," that is, to father their son Danny (Matthew Daddario) in addition to coaching him as a wide receiver on the Spartans (it's not clear how she comes to imagine this), Bob insists that he must remain at De La Salle. He's needed here, he says vaguely, working with students who don't have the same sorts of privileges and expectations as those at, say, Stanford.

At this point, early in the movie, Bob sounds exceptionally confident and also exceptionally noble, an effect that is in part a function of Caviezel's performance, stoic and terse and looking awfully like a variation on the role for which he's most famous, Jesus of Nazareth. Hailing from Sony’s in-house, faith-based label Affirm Films, When the Game Stands Tall offers Biblical verses (did I mention that Coach Lad is also a religious studies teacher at the school?) and more than a couple of multiple Dick's Sporting Goods promos. As much as his players, their parents, and the local community in Concord, California all love and worship the streak, Coach Lad and his defensive coordinator Terry (Michael Chiklis) worry with one another about the effects of the attendant celebrity. Just so, the movie supplies them and the team with occasions to be humbled.

This process takes time (the film runs a long two hours) and several forms. It's hard to miss the effects of race and class differences, though the movie doesn't name them as such. The white players tend to feel disappointed by their dads: Danny's upset with his father's neglect and star running back Chris (Alexander Ludwig) is pressured by his large, loud, abusive dad (Clancy Brown) to break a running TD record. The black players face more existential and more immediate threats. Running back T.K. (Stephan James) has a great dad (Terence Rosemore) and a devoted best friend Cam (Ser'Darius Blain), but still, he lives in a neighborhood characterized by apartments rather than houses, lack of light, and thumping hiphop music.

The movie can't seem to help itself. The team is shaken by the inevitable consequences of these clichés, as well as one other, the pile-on warning sound of "This is How We Do It," blaring at a party. Yes, When the Game Stands Tall uses a dead player to humble and inspire his team and coach, who then proceeds to his own humbling and inspiring. You know long before his coronary that it's coming, as he appears smoking a few—while fretting about his players, of course. That Bev has to witness the attack and then mediate between Coach and his kids, who come to visit him in the hospital, reminds you that she is the saint in this movie (in case you've forgotten). She also has to endure his misery at home, the very place she suggested he spend more time. Cue the montage where he can't manage the barbeque, where he watches the team from afar, where the players fall apart without their skipper.

Coach Lad's lessons, learned and delivered, focus on the significance of team as family, the support system that never ends. Coach wonders briefly whether he can save these kids in an era of social media, where every kid thinks he's entitled to be a celebrity. Bev offers the expected bit of support, a story about what she knew about him on their wedding day. "Some people don't know who they are," she says, "They just know something is missing."

And so Coach abandons his momentary reference to a world outside the movie that can't seem to help itself and returns to coaching. The boys return to game time (it's worth noting that they're all two-way players, which means they play a lot). The announcers go back to announcing. The smallest player is inspiring. When it's hot, Coach Lad squints up at the sky so you can share his point of view of the sun. When the players hit each other, the slamming sound effects are tremendous. And when Bev return to the stands, the utterly wonderful Dern is consigned to yet another series of go-team-go or oh-dear! reaction shots.


From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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